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The Cure

The Cure

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iTunes Review

Oddly enough for an album that bears the weight of being the first self-titled album from a band 25 years into their career, The Cure is not one of Robert Smith’s conceptual juggernauts. While the sound is still sweeping and grand – guitars and keyboards either come drenched in reverb and cathedral echo or with a hefty use of electronic manipulation – the songs do not entail the same epic doom of the band’s most cherished work. That isn’t to say Smith is either lighthearted or that the band lacks commitment. “Before Three,” “Us or Them“ and “Labyrinth“ spotlight the group’s trademark twisting melodies and emotionally inflated gnashing and belong in the band’s Hall of Pain as much as anything from other high-water marks as Pornography, Kiss Me, Kiss Me, Kiss Me, Disintegration and Bloodflowers. But coming from a guy who threatened to put an end to the group, well, there’s an unusually joyous bounce in his voice for a tune called “The End of the World.” It’s great fun, though it could make the faithful a little suspicious.

Customer Reviews

The Biggest Letdown

I have been a fan of The Cure for a long time, and I have to say that this album is the biggest letdown of any before. How can you go from something like Bloodflowers to this in just one release. I feel like Rob and company tried too hard to release something dark and gloomy, and the end result is just too much of a letdown. Yes, I do have this release because I am a fan, but do not listen that often. Even Wild Mood Swings is better than this. I long for the group to return to an earlier sound, say, Seventeen Seconds or Faith. Now that there are only three members in the band, maybe they will.

Always a pleasure

You couldn't get a better CD if you're curious, or if you are a new cure fan. For the tried and true old school fan, it will not disappoint. This release is full of the ever delightful mix of emotional ups and downs that any Cure enthusiast has come to enjoy... Starting out with all dark and dire dreamscapes of "Lost" and "Labyrinth" then churning around it swings up to sing-songy ditties like "(I Don't Know What's Going) On" and "Taking Off". Add to that the unusually political and highly pertinent anthem of "Us Or Them" and you have the perfect package of The Cure's talent. The Cure have managed to stay relevant with the modern world while keeping fresh musically... they continue to rock! Besides, who couldn't love that adorable cover art with the band all portrayed in crayon?

Not hidden behind a wall of sound

Robert's vocals stand out prominently on this album unlike on most of his other works. The feedback seems more pushed back and not quite in your face. I think this is what gives this album its unique sound, and it takes a little getting used to. I gave it 5 listens before I decided I liked it...and once I did, it grew on me. Gone are the treble happy rifs a la Friday I'm in Love, or Three Imaginary Boys. This album is comparatively "flat" with music focus on the mid range and a few low range songs...(think Charolette Sometimes and The Hanging Garden). The album is very focused unlike Wish...which bounced around (moods and music) all over the place. Robert seems unconcerned about alienating the other half of is fan base that fell in love with songs like The Love Cats, Mint Car, and Friday I'm In Love. Glad I'm not one of those fans.

Biography

Formed: 1976 in Crawley, England

Genre: Alternative

Years Active: '70s, '80s, '90s, '00s, '10s

Out of all the bands that emerged in the immediate aftermath of punk rock in the late '70s, few were as enduring and popular as the Cure. Led through numerous incarnations by guitarist/vocalist Robert Smith (born April 21, 1959), the band became notorious for its slow, gloomy dirges and Smith's ghoulish appearance, a public image that often hid the diversity of the Cure's music. At the outset, the Cure played jagged, edgy pop songs before slowly evolving into a more textured outfit. As one of the...
Full Bio

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